Critics

Massimo Chiti, New Pop or Hypertextuality?

Massimo Chiti’s visual work focuses on a continuous reflection around the communicative languages ​​shared in contemporary society. Massimo wants to talk to us and therefore, first of all, he appropriates a grammar and a syntax suitable for interfacing with the multitude of individuals with whom he relates daily. Massimo moves away from the condition of elitist intellectual and demiurge, holder of a higher awareness and committed to guiding his fellow men. With his work he redefines the role of the artist as the spokesperson and medium of a company, a critical voice, but nevertheless an interpreter of a shared feeling. And if the visual language, even more than speech and writing, is a priority in the global world of the 21st century, it is obvious that, among the infinite experiments delivered to us by the masters of Modernity, we are choosing those that are able to more widely speak with diversified layers of sociality . Massimo adopts many of the most recent artistic experiments, but chooses a language with clear references to the Pop experience, both in terms of techniques and subjects. Recognizing one’s fathers is instrumental in providing an approach, in facilitating an approach. But nothing more! Certainly Massimo focuses on faces and iconic figures apartments with the baggage shared by the middle western man, and on these he intervenes with the specific tools of the visual operator, as Warhol had already experimented. But the analogies end there. It is no longer sufficient to denounce the mystical aspect of the consumer society, with globalization we need more subtle analysis tools and more complex deconstructive and reconstructive hypotheses.

If Warhol combines screen printing and photography to offer us a technically “easy” way of producing and reproducing images, if Mimmo Rotella, with his “décollage” tries to affirm traces of a past, Massimo builds, with his mastery of techniques and materials of the contemporaneity, complex concept maps to guide reflection and suggest further critical paths.

In his works collages and décollage are combined with manipulations in the printing phase and pictorial interventions that reproduce the classical instruments of composition and chromatic balance; nothing is ready-made, torn from the banality of everyday life: even when it recycles bottle caps, it manipulates them, transforming them into mosaic tiles, caps, strasses and fragments of crystals that lead to combine painting, but only to reinforce the expressive energy of the combinations of images . We immediately recognize the face of David Bowie or Sophia Loren, but it is the indistinct magma of iconographic fragments that make up (or break down?) These mythical images to trigger a short circuit that multiplies the associations and the calls. Various echoes intersect and make the nature of the image even more polymorphic, figures and objects, together and fragments, lose their original matrix and acquire another identity. The impalpable lightness of the printed papers and colors gives way (or is combined) to the physicality of materials borrowed from different fields (the bottle cap, the strasse, the crystal), not so much to conquer a spatial plasticity, as for building a dialectic between reality, appearance and illusion. Resin treatment also crystallizes the process, eliminating any possible future depletion. We witness the reversal of the process that Rotella proposed to us and we understand the specificities of Chiti: we do not just extrapolate fragments full of pathos from life, but we patiently build a network of associations of ideas (for images) capable of reinterpreting reality and to suggest further enrichments and transformations.
A way to reflect on the precariousness and fragility of the human being and of all things, in a continuous flow where even the opposites dissolve into each other. The shapes, apparently recognizable as shared icons, break and recompose, tear and reconstruct temporary balances and create new, polymorphic, unusual and unexpected ones, while the grin transforms into a smile, suffering into joy, seriousness at stake winking. memory is always stronger than retinal perception and the latter serves to activate the former. And then we could be drawn to the popular myths that Massimo Chiti offers us but then look at his works as meditation tables where to look for oxymorons and palindromes to build further sense connections of looking at his works as meditation tables where to look for oxymorons and palindromes to build further entirely personal sense connections.

Roberto Agnoletti